“The Mariko Aoki phenomenon is a phenomenon consisting of the urge to defecate while visiting a bookstore. Originating in Japan, it is named for the woman who first publicized such an urge.”
Mark Seal explores the ongoing legal battle between Harper Lee and Samuel L. Pinkus, the latter of whom is said to have “’engaged in a scheme to dupe Harper Lee, then 80-years-old with declining hearing and eye sight, into assigning her valuable TKAM [To Kill a Mockingbird] copyright to [Pinkus’s company] for no consideration,’ and then created shell companies and bank accounts to which the book’s royalties were funneled.”
The Common has a newly translated chapter of Turki al-Hamad’s novel Al Karadib. Its publication online coincides with the one-year anniversary of al-Hamad’s arrest in December 2012 for “tweets considered apostasy.” This featured chapter is the first part of the book to be translated into English.
Oh, shit: looks like many of our curse words are quickly going extinct. (There is good news, however, contained in this delightful sentence: “Still, according to Sheidlower, f-bomb enthusiasts need not fret too much.”)
My book, The Late American Novel: Writers on the Future of Books is out today (more on that here), and also out this week is Joshua Foer’s (the latest of the Foer’s to throw his hat in the authorial ring) Moonwalking with Einstein: The Art and Science of Remembering Everything, buzzed about food memoir Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, a new look at the modern world’s most ubiquitous commodity James Gleick’s The Information: A History, a Theory, a Flood, Library of America boxing anthology At The Fights: American Writers on Boxing, Mat Johnson’s Poe-inspired Pym, and Victoria Patterson’s This Vacant Paradise. New in Paperback: Sam Lipsyte’s The Ask and Chang-rae Lee’s The Surrendered.
“All I know was that in Paris I felt haunted, like a double exposure photograph that shows a figure and then a milky specter behind. I felt stalked by a creature of my own making, a monster that was both my mother and myself.” Darcey Steinke writes about Paris, loss, and monsters in an essay for Granta.